Jean Louis: Master of Hollywood Glamour

Jean Louis (1907–1997) was a legendary French-born American costume designer who became one of the most influential figures in Hollywood during the Golden Age. Born Jean Louis Berthault in Paris, he moved to the United States and eventually became head designer at Columbia Pictures.

Renowned for his exquisite craftsmanship and elegant sense of style, Louis created some of the most iconic gowns in film history, including the famous strapless black satin dress worn by Rita Hayworth in Gilda (1946) and the dazzling wardrobe for Marlene Dietrich’s stage performances.

Jean Louis won an Academy Award for Best Costume Design for The Solid Gold Cadillac (1956) and received 13 Oscar nominations throughout his career. His timeless, sophisticated designs helped define the glamour of mid-20th century Hollywood.

These elegant vintage photos capture the timeless sophistication, impeccable craftsmanship, and enduring glamour of Jean Louis, one of the most influential and celebrated costume designers of Hollywood’s Golden Age.

Marilyn Monroe wore this Jean Louis gown in Columbia's low budget film "Ladies of the Chorus", it had a heavily embellished bodice and sheer cutout center over a skirt of flowing chiffon, April 1948

Rita Hayworth in gown by Jean Louis for the film "The Lady from Shanghai", photo by Robert Coburn, 1947

Marlene Dietrich wearing beaded gown by Jean Louis, photo by John Engstead, 1955

Marilyn Monroe in black crepe cocktail dress with irregular neckline threaded with jersey band by Jean Louis for the film "The Misfits", 1961

Dorothea McGowan in sinuous, spiralling, plum chiffon gown over silk crêpe, floated free at the back, by Jean Louis, Pagoda earrings, gloves by Aris, coiffure by Kenneth Batelle, photo by Bert Stern, Vogue, November 1, 1962

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35 Vintage Studio Portraits Featuring Late 1960s Women’s Hairstyles

The late 1960s marked a vibrant and transformative period in women’s hairstyling, as fashion moved away from the structured, voluminous looks of the early decade toward freer, more natural, and individualistic expressions. These studio portraits beautifully capture the diversity of hairstyles during this transitional era: from sleek, straight “hippie hair” and feathered layers to soft curls, long flowing locks, and the last remnants of the glamorous bouffant.

Reflecting the influence of the counterculture, youth rebellion, and changing ideals of femininity, these images showcase how hair became a powerful form of self-expression. Shot in classic studio settings, they offer a stylish and nostalgic glimpse into the evolving beauty standards of the late 1960s.

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Mid-Century Fashion Through the Lens of Frances Pellegrini

Frances Pellegrini was a gifted American photographer who left a distinctive mark on mid-20th century fashion photography.

Working primarily during the 1940s and 1950s, she was known for her refined, sensitive, and gracefully composed images that captured both the elegance and personality of her subjects. Unlike the more theatrical and highly stylized fashion photography common at the time, Pellegrini’s work often featured soft lighting, natural poses, and an intimate, almost painterly quality.

Her photographs beautifully documented the evolution of postwar fashion: from the tailored suits and feminine silhouettes of the New Look to the poised sophistication of the 1950s, offering a timeless and artistic perspective on mid-century style and glamour.

Model in strapless bra in black eyelet batiste by Edith Lances, tiered nylon petticoat by Chevette, photo by Frances Pellegrini, Harper's Bazaar, October 1953

Evelyn Tripp in leopard coat tailored like a Chinese jacket to wear clasped close or floating loose by Reiss and Fabrizio, photo by Frances Pellegrini, Harper's Bazaar, November 1953

Sandy Brown (left) in ruby red rayon velvet and Tippi Hedren (right) in blue taffeta, both dresses by Junior Formals, photo by Frances Pellegrini, Harper's Bazaar, August 1953

Sandy Brown in a bouffant-sleeved ruby velvet dress by Junior Sophisticates, photo by Frances Pellegrini, Harper's Bazaar, August 1953

Linda Harper in amber velvet dress, waist is clasped by shining-bronze belt with starburst pin, dress and jewelry by Eisenberg, photo by Frances Pellegrini at the Crystal Pavillion in Sherry-Netherland, Harper's Bazaar, October 1954

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Don Honeyman: Elegant Master of Mid-Century Fashion Photography

Don Honeyman (1919–2011) was a talented American-born British photographer renowned for his elegant fashion and portrait photography. He began his career in 1940 at American Vogue, initially assisting legendary photographers such as Horst P. Horst and George Hoyningen-Huene, before quickly establishing himself as a skilled photographer in his own right.

After moving to London in the late 1950s, Honeyman worked extensively for British Vogue, Harper’s Bazaar, and other prestigious publications. Known for his refined lighting, sophisticated compositions, and ability to capture both glamour and personality, he photographed many notable figures of the mid-20th century.

His work spanned several decades and left a significant mark on postwar fashion photography in Britain. These beautiful vintage photos showcase Don Honeyman’s exceptional talent for combining technical mastery with timeless elegance, capturing the glamour and poise of mid-20th century fashion with enduring grace.

Model in heavy black faille dress, with a laced-in waist and five yards of stole, photo by Don Honeyman, Vogue, October 1, 1946

Mrs. John C. Wilson photographed by Don Honeyman in Paris of the sari dresses, which Mainbocher made for her in New York, Vogue, July 1947

Jeanne Klein wearing a Tricot sweater with a Danton collar, photo by Don Honeyman, Vogue, Paris, September 1948

Model wearing a long stole cut from the same fabric as the dress and draped over the shouldres by Balenciaga, photo by Don Honeyman, Vogue, Paris, September 1948

Ariane wearing a dress by Jeanne Lafaurie, and hat by Legroux Soeurs, photo by Don Honeyman, Vogue, Paris, May 1949

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35 Glamorous Portraits of ’80s Brides

The 1980s was a decade of bold glamour, and nowhere was it more evident than in bridal fashion. These glamorous portraits capture the extravagant spirit of 1980s brides: complete with voluminous gowns, dramatic puffed sleeves, intricate lace details, big hair, and sparkling veils.

From lavish satin ball gowns to romantic off-the-shoulder designs, each photograph reflects the confident, larger-than-life aesthetic that defined wedding style during this iconic era. More than just fashion, these images embody the romance, optimism, and theatrical elegance of brides who wanted their wedding day to be nothing short of spectacular.

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Before Fame, Elizabeth Hurley Was a Young Punk in the Early 1980s

Long before her glamorous red-carpet days, actress Elizabeth Hurley embraced a striking punk and goth aesthetic during her teenage years in the early 1980s. Growing up in Hampshire and spending time in Brighton and London, she fully immersed herself in the subculture. She dyed her hair bleach blonde, wore a nose ring, backcombed her hair into massive spiky styles, and even sang for a local punk band called the Vested Virgins.

She recalled about that time, “I used to hang out with the local punks. They were a mixed crowd, mostly unemployed or laborers and we were banned from most of the pubs in the area, mostly because of the way we looked. How we looked was quite deliberate though, as far as I was concerned. The look was a rebellion in itself. I found that many men took an interest in me and at that age it got on my nerves so I made myself look as awful as possible.”

Hurley studied dance and theatre at the London Studio Centre, made her film debut in Aria (1987), and appeared in projects like Rowing with the Wind (1988, where she met Hugh Grant). Her style evolved toward edgier but more polished looks – leather jackets, bold fashion – while she took modeling gigs.

By 1989, she was often seen with a more glamorous, voluminous 1980s hair and sophisticated edge alongside peers like Patsy Kensit. Strikingly beautiful even then, with a rebellious, cool, “fresher” energy compared to her later ultra-glam image. She was known as fun, nice, and stylish within the scene.

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Bonnie Tyler’s Iconic 1980s Big Hair

When you think of peak 1980s “big hair,” Bonnie Tyler is one of the ultimate icons. Her look during this decade perfectly mirrored the dramatic, operatic scale of her music—especially around the time of her 1983 mega-hit “Total Eclipse of the Heart.”

Tyler’s hair wasn't just big; it was intricately styled to combine several major 1980s hair trends into one cohesive, rock-star image. The foundation of her look was a tight, textured chemical perm. This gave her hair the necessary crimped, curly structure to hold massive amounts of volume without falling flat under stage lights.

Her cut featured heavily feathered, shorter layers around the crown and framing her face, which gradually cascaded into longer, texturized lengths past her shoulders. This allowed the top to stay incredibly light and bouncy. To achieve that gravity-defying height, the roots were backcombed (teased) aggressively and locked into place with industrial-strength hairsprays of the era. The style was emphasized by her signature bright, honey-blonde coloration, often contrasted with slightly darker roots or lowlights to give the curls visual depth and definition.

Notice how the shorter layers at the very top of her head are teased upward to create maximum lift, while the sides are feathered back to frame her face. It created an iconic silhouette that defined the pop-rock diva look of the early-to-mid 1980s.

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Nancy Sinatra Trying on Her Boots

Nancy Sinatra’s 1960s style, especially tied to her 1966 hit “These Boots Are Made for Walkin’,” epitomized mod fashion—bold, confident, youthful, and empowering. She helped popularize the go-go boot as a symbol of female swagger and independence.

Go-go boots were mid-calf to knee-high, low-heeled, and typically made of white patent leather, vinyl, or leather. French designer André Courrèges introduced the white mid-calf version in 1964, but Nancy made them mainstream.

In the famous music video and performances (e.g., The Ed Sullivan Show), she wore white go-go boots paired with a black mini sweater-dress or similar short outfit, strutting with attitude. She also appeared in black or red leather boots in photos and on album covers. These boots were practical for dancing yet stylish, flat or low-heeled for movement, with a sleek, square-toed look that screamed 1960s youth culture.

Nancy didn’t just wear the look, she embodied a shift toward female assertiveness in fashion and music. Go-go boots became linked to go-go dancers, TV shows like Hullabaloo, and broader 1960s liberation. Her style influenced countless women and remains a retro staple.

1930s Beachwear: Elegant Resort Style by the Sea

In the 1930s, beachwear evolved into a distinct and stylish category of fashion, separate from actual swimwear. While one-piece swimsuits were worn for swimming, women (and men) would change into elegant resort ensembles for strolling along the boardwalk, sunbathing, or socializing by the sea.

Women’s beachwear typically featured wide-legged palazzo pants, chic sailor-style tops, halter-neck blouses, linen dresses, and sophisticated beach pajamas. Large floppy hats, sunglasses, espadrilles, and lightweight cover-ups completed the look. This era emphasized effortless elegance, comfort, and a relaxed yet refined aesthetic, heavily influenced by Hollywood stars and the growing culture of seaside vacations.

1930s beachwear perfectly captured the glamorous yet carefree spirit of the decade. These beautiful vintage photos perfectly capture the effortless glamour and refined casual style of 1930s beachwear, a perfect blend of comfort, elegance, and seaside sophistication that defined a golden era of resort fashion.

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Caroline Reboux: The Queen of Milliners

Caroline Reboux (1837–1927) was one of the most influential and celebrated milliners in history, often called the “Queen of Milliners.” Active for nearly seven decades in Paris, she defined hat fashion from the Second Empire through the Roaring Twenties.

Renowned for her exceptional craftsmanship, elegant designs, and innovative sensibility, Reboux created hats for royalty, aristocracy, and the most fashionable women of her time, including actresses Sarah Bernhardt and Coco Chanel. She was particularly famous for perfecting the cloche hat in the 1920s and for her ability to combine artistic creativity with refined simplicity.

Her work embodied the height of Parisian chic and helped elevate the milliner’s craft to the level of haute couture. These exquisite vintage photos capture the timeless elegance and artistic genius of Caroline Reboux, the woman who defined hat fashion for nearly seven decades and remains the undisputed Queen of Milliners.

Model in plum colored straw trimmed with long cherry and plum ribbon streamers by Caroline Reboux, photo by Studio Robert Rigasse, 1940

Model wearing turban in navy blue felt lined with pink gros-grain and decorated with roses, covered by large mesh voilette, by Caroline Reboux, photo by Studio Robert Rigasse, 1940

Betty Threatt wearing a hat of ice blue ostrich feathers on a black wide cuff and back of velvet lattice work strips by Caroline Reboux at Bergdorf Goodman, photo by Louise Dahl-Wolfe, Harper's Bazaar, December 1946

Model in wool coat by Balenciaga, hat of towering tulle with red roses by Carolyn Reboux, photo by Philippe Pottier, 1947

Model wearing black velvet hat with cyclamen pink ribbon by Caroline Reboux, photo by Philippe Pottier, 1947

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